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SMITHSONIAN INSTITUTION. 



UNITED STATES NATIONAL MUSEUM 



DIRECTIONS FOR COLLECTORS OF 
AMERICAN BASKETRY. 



OTIS T. MASON, 

Curator, Division of Kthnology. 



Part P of Bulletin of the United States National Museum, No. 




WASHINGTON: 

GOVERNMENT PRINTING OFFICE. 
1902. 



/ 



SMITHSONIAN INSTITUTION. 

UNITED STATES NATIONAL MUSEUM 



DIRECTIONS FOR COLLECTORS OF 
AMERICAN BASKETRY. 



OTIS T. MASON, 

Curator, Division of Ethnology. 



Part P of Bulletin of the United States National Museum, No. 



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WASHINGTON: 

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DIRECTIONS FOR COLLECTORS OF AMERICAN 

BASKETRY. 



By Otis T. Mason, 
Curator, Division of Ethnology. 



The sallow knows the basket maker's thumb. — Emerson. 
INTRODUCTION. 

The following instructions are published for the great number of 
persons who are interested in the collection and preservation of Ameri- 
can basketry. Besides the aesthetic elements involved and the pride 
of saving the best examples of a rapidly vanishing industry, there is a 
vast deal of culture stud}^ which ought not to be neglected. 

In every collection, public or private, there are opportunities for 
special investigation that should not be in the possession of only a 
single individual. If all who are gathering baskets would preserve 
such information as they are able to obtain, the bringing together of 
the results of all this study would be a monument to our American 
aborigines. The perfect understanding of a basket involves a knowl- 
edge of the following subjects: 

I. Materials. — Natural and prepared. 

1. List of plants, animals, minerals, etc. 

2. Indian name, giving the tribe. 

3. Common name. 

4. Scientific name. 

The following label of a specimen in the Hudson basketry collection 
will serve as a model to guide the collector in saving information 
about his specimens. 

BASKET JAR of the Ceeko Indians (Kulanapan stock). Made from the prepared root of Kahum, 
or California sedge (Carex mendocinensis) , throat and scalp feathers of Katatch, or woodpecker 
{Melancrpes formicivorus), breast feathers of Jucil, or meadow lark (Stumclla ncglecta), scalp feathers 
of Kayan, or mallard {Anas borchas), plumes of Tchikaka, or crested quail (Lophortyx calif amicus) , 
neck feathers of Tsawalu, or jay (Cyanura stcllcri), and Kaya, or prepared clam shell (Saxidomus 
gracilis), in a style of coiled sewing called Tsai, in which a single rod constitutes the warp. The sew- 
ing passes over this rod, under the preceding one, and locks in the stitch immediately underneath. 
Ornamentation, a row of shell disks around the margin and another row serving as a handle. 

Diameter, 5 inches. 

RUSSIAN RIVER, CALIFORNIA, 1896. 203,415. 

FROM THE BUREAU OF AMERICAN ETHNOLOGY, COLLECTED BY 
OR. J. W. HUDSON. 

[3] 



COLLECTORS OF AMERICAN BASKETRY MASON. [4] 

II. Basket making.— Under this head are included all the activities 
involved in construction, namely: 

1. Harvesting the materials. — This embraces descriptions of places, 
the times and methods involved, as well as the tools and apparatus 
used in gathering. 

'2. Preparing materials. — Frequently the raw materials are stored 
away until required. When the time comes for their use special 
manipulations are necessary, such as peeling, splitting, making- splints, 
yarning or twisting, twining, braiding, soaking, gauging, coloring. 
These should be noted carefully and described. 

3. Processes of manufacture. — The materials being ready, the maker 
scats herself in the midst and begins the technic operations that 
should be minutely watched, and photographed, if possible. Collec- 
tions should be made also of tools, apparatus, and patterns. The 
processes of basket weaving are making braid, checker, wicker, 
twilled, wrapped, twined, and coiled work, in checks, decussations, 
meshes, stitches, overlaying, etc. 

III. Ornamentation. — This may be either in material, processes of 
making, or in added substances. 

1. For at. — Especial attention should be paid to the aboriginal shapes, 
since they express the Indian mind, and everything possible should be 
done to discourage modern innovations. 

2. Color. — This may be either natural or artificial. Since the intro- 
duction of modern dyes, the old methods of coloring are being aban- 
doned. The raw material of basketry and the processes of adding 
color both demand attention. 

3. Designs.— This refers to all figures on the surface, whether in 
color, in technic, or however produced. In fact, basketry is mosaic; 
the (dements are always geometric figures, those of the coiled type are 
vertical, while those of other types are horizontal. 

IV. Symbolism and patterns. — Students of basketry have shown 
that almost every design serves as a key to Indian lore. The story, if 
such exist, can not be made up from the elements as in hieroglyphics, 
but must be taken down from the lips of the basket maker. How 
important it is, therefore, that those collectors who are in touch with 
basket makers should secure from them the precious information. 

V. Uses. — Baskets are used in food, dress, house, furniture, arts, 
and industries, as expressions of aesthetic culture, in social customs, 
and religion. From the cradle to the grave they are present, Only 
the observer on the spot can be trusted to gather such information fully. 

VI. Ethnic varieties and culture provinces, ancient and 
modern. It will be of great value to the student of technology to 
give the names of the tribes making basketry and to associate with 
each example the name and locality of its maker's tribe. Also a list of 
the varieties of basketry made by any tribe is of the utmost importance 
in arriving at a correct opinion concerning the simple or composite 



[5] 



BULLETIN 39, UNITED STATES NATIONAL MUSEUM. 



character of that tribe. The Porno, the Twana, and the Hopi, make 
each half a dozen styles of baskets. 

VII. Collections. — Those collections that have been made with a 
view to permanence should be kept so that they will sutler leasl from 
damage. The dust may be blown from the specimens with bellows. 
Those containing remnants of vegetable matter, berries, food, and so 
forth, should be carefully scrubbed with soap and water, and rubbed 
down with a very small portion of oil and dryer. Above all they 
should be poisoned with a weak solution of corrosive sublimate or 
arsenic dissolved in alcohol. A card 

catalogue giving- the legend and history 
of each piece would add much to the 
value of the collection. 

VIII. Bibliography. — Every con- 
tribution to the literature of the sub 
ject should be sent to the Division of 
Ethnology in the United States National 
Museum for safe-keeping- and ready 
reference. 



PROCESSES OF MANUFACTURE. 




FlG.l. 

COARSE CHECKER WORK. 

Report U.S.N.M., 1884, pi. 57, flg. »5. 



The various processes of manufacture 

will now be explained more definitely, 

and also illustrated. 

A. Checkerworh. — This occurs especially in the bottoms of many 

North Pacific coast examples, and also in the work of eastern Canadian 

tribes (fig. 1); in mat- 
ting its use is well-nigh 
universal. 

In this ware the warp 
and the weft have the 
same thickness and plia- 
bility. It is impossible, 
therefore, in looking at 
the bottoms of the cedar- 
bark baskets and the mat- 
ting of British Colum- 
bia (fig. 2), or Eastern 
Canada, to tell which is 
warp and which is weft'. 
In very many examples 
the warp and weft of 
a checker bottom are 
turned up at right angles 

to form the warp of the sides, which may be wicker or twined work. 

A great deal of bark matting is made in this same checkerwork, 




-— « 


m 


— — ' 


i 



Fig. 2. 

FINE CHECKERWORK. 
Report U.S.N.M., 1884, pi. 57. tig. 95. 



COLLECTOES OF AMERICAN BASKETRY MASON. 



[6] 



but the patterns run obliquely to the axis of the fabric, giving the 
appearance of diagonal weaving. When warp and weft are fine yarn 
or threads, the result is the simplest form of cloth in cotton, linen, 
pifia liber, or wool. The cheap fabrics of commerce are of this species 

of weaving. In art, latticework fre- 
quently shows the bars intertwined as 
in checker basketry (tig. 3). 

B. Diagonal or twilled basketry. — 
This is seen in those parts of the world 
where cane abounds. In America it is 
common in British Columbia, Wash- 
ington, Southern United States, Mexico, 
and Central America, and of excellent 
workmanship in Peru, Guiana, and 
Ecuador. The fundamental technic of 
diagonal basketry is in passing each ele- 
ment of the weft over two or more warp 
elements, thus producing either diagonal 
or twilled, or, in the best samples, an 
endless variety of diaper patterns (figs. 4 and 5). See Sixth Annual 
Report of the Bureau of Ethnology, p. 216, figs. 316-318, for excel- 
lent examples of this. 

The North Americans of antiquity were very skillful in administering 
the twilled technic. From examples reproduced by W. H. Holmes it 

will be seen that in the ancient 




Fig. 3. 
open checkerwokk. 

6th An. Kept. Bur. of Ethnol., fig. 291, after 
W. H. Holmes. 





FIG. 4. 
DIAGONAL OH TWILLED WORK. 

Report U.S.N. M.. 1884, pi. If), fig. 28. 



Fig. 5. 

DIAGONAL OR TWILLED WORK. 
Report U.S.N.M., 1884. pi. 57. fig. 98. 



weaving of the Mississippi Valley, in its southern portions, the weft 
would not pass over the same number of warp elements that it passed 
under. On the specimens shown the weft goes over one and under 
three, or the opposite, each time and each way (figs. 6 and 7). Won- 
derful effects in this variation of the numbers of elements included are 
to be seen on Fijian basketry (fig. 8). 



[7] BULLETIN ,'59, UNITED STATES NATIONAL MUSE1 M 




Fig. ti. 

DIAGONAL OB TWILLED WORK. 
Pressed on ancient pottery of Tennessee. 3d An. Kept. Bur. of Ethnol., tig. 98. After W. II. II,, I 




Fig. 7. 

DIAGONAL OR TWILLED WORK. 
Pressed on ancient pottery of Alabama 3d An. Kept. Bur. of Ethnol., fig. 99. After W. H. Holmes. 




Fig. 8. 
diagonal work of fiji. 

Report U.S.N.M., 1881, plate 55, fig. 91. 



COLLECTORS OF AMERICAN BASKETRY MASON. 



[8] 



Excellent variety is produced in this kind of weaving b/v means of 
color. Almost any textile plant, when split, has two colors, that of 
the outer or bark surface and that of the interior woody surface 
or pith. Also the different plants used in diagonal basketry have 
great variety of color. By the skillful manipulation of the two sides 
of a splint, by using plants of different species, or with dyed elements, 
geometric patterns, frets, labyrinths, and other designs in straight 
line are possible (tig. 9). Examples from the saltpeter caves and 
modern pieces from the Cherokee, both in matting and basketry, are 




Fig. 9. 
diagonal weaving ok the cherokee. 

Kept. U.S.N.M., 1881. pi. 53, fig. 89. 

double. By this means both the inside and the outside of the texture 
expose the glossy siliceous surface of the cane. 

C. Wickerwork. — Common in eastern Canada, it is little known on 
the Pacific coast and in the Interior Basin, excepting in one or two 
pueblos, but is seen abundantly in southern Mexico and Central Amer- 
ica. It consists of a wide or a thick and inflexible warp, and a slender 
flexible weft(fig. 10). 

The weaving is plain and differs from checkerwork only in the fact 
lliat one of the elements is rigid. The effect on the surface is a series 



[9.1 



BULLETIN 39, UNITED STATES NATIONAL MUSEUM. 



of ridges. It is possible also to produce diagonal effects in this t\ pe 
of weaving. 




Fig. 10. 
wicker basket of the zunt. 

Kept. U.S.N.M., 1884, pi. 48. Bg. BO. 



Wickerwork must have been a very early and primitive lorm of 
textile. Weirs for stopping- fish are made of brush, and wattled 
fences for game drives are set up in the same manner. A great deal of 
the coarse basketry in use for pack- 
ing and transporting is made in this 
fashion. The Zufii Indians make 
gathering baskets of little twigs 
after the same technic, the inflexible 
warp being made up of a small bun- 
dle of twigs of the same plant. The 
transition from checker to wicker 
in some examples is easy. The mo- 
ment one element, either warp or 
weft, is a little more rigid than the 
other, the intersections would natur- 
ally assume a wicker form. 

The finest specimens in America are 
the very pretty Hopi plaques made 
of Bigelovia graveolens. Short 
stems are dyed in various colors, worked into the warp, and driven tightly 
home so as to hide the ends and also the manner of weaving (fig. 11). 




Fig. 11. 
close wicker work (>f the hopi. 

Kept. C.S.N.M.. 1X84. pi. i:>. fijj. 74. 



COLLECTORS OF AMERICAN BASKETRY MASON. 



[10] 



Various patterns are effected on the surface— clouds, mythical birds, 
and symbols connected with worship. Wickerwork has pleasing 
effects combined with diagonal and other work (tig. 12). It has passed 
into modern industry through the cultivation of osiers, rattan, and 
such plants, for market baskets, covers for glass bottles,and in ribbed 
cloth, wherein a flexible weft is worked on a rigid warp. Also, good 
examples arc now produced by the Algonkin tribes of New England 
and eastern Canada. 

For commercial purposes, wicker baskets precisely like those of 
the Abenaki Indians are thus made. 

The white-oak t i m- 
ber is brought to the 
yard in sticks running 
from 6 to 40 inches in 
diameter, and from -1 to 
18 feet long. It is tirst 
sawed into convenient 
lengths, then split with 
a maul and wedges into 
fourths or sixteenths. 
The bark is then stripped 
off with a drawing 
knife. 

The next process is 
cutting it into bolts at 
what is called the split- 
ting horse. These are 
taken to the so-called 
shaving horse, to be 
shaved down with a 
drawing knife into per- 
fectly smooth, even 
bolts, of the width and 
length desired. These are then placed in the steam box and steamed 
for a half hour or so, which makes the splints more pliable; they 
are taken thence to the splint knife, which is arranged so that one 
person, by changing the position of the knife, can make splints of 
any desired thickness from that of paper to that of a three-fourth 
inch hoop. 

The oyster baskets and most small baskets have the bottom splints 
laid one over another, and are plainly woven. 

Bui the round-bottomed baskets, used for grain and truck, are made 
by taking from 10 to 18 ribs and laying them across each other at the 
middle in radiating form, and weaving around with a narrow thin 
splint, until the desired size for the bottom is reached, when the 




Fig. ]•_». 
mat of the hop1 in diagonal and wick eh. 

6th An. Kept. Bur. of Ethnol., fig. 286, after W. H. Holmes 



[11] BULLETIN 39, UNITED STATES NATIONAL MUSEUM. 



tther baskets, about :i dozen 



m a 



splints are turned up and set in 

series, for twenty-four hours. 

They are then woven around with a fine splint and placed on a 
revolving drum or form and tilled up the required height and set in 
the sun to dry for six hours. They are then shaken hard by striking 
tin 4 bottom on the floor, which causes the splints to settle tight together, 
and prepared for the rim. They next proceed to fasten the handles to 
the sides and put the rims or hoops on by fitting them into the notches 
made in the handles and binding them tightly with fine splints. The 
different styles are made 1 by using different shaped drums and vari- 
ously colored splints, the lat- 
ter being done by dipping- the 
splints, before weaving, into 
dyes. 

The more curiously made 
baskets are those for the char- 
coal and eelpots. 

The charcoal baskets are 
shaped like a tray and are 
carried on the head by the 
coal carriers. 

The eelpots are used as traps 
for catching eels. The wood 
is prepared for them in the 
same manner, and they are 
made on a form about 40 
inches long and in the shape 
of a bottle minus the bottom, 
and have a funnel arrange- 
ment at either end which is 
detachable. 

D. Wr app e cl w eft. — 
Wrapped basketry consists of 
warp and weft. Examples of 
this technic are to be seen in 
America at the present time among the Indians of southern Arizona, 
the Mohaves, for their carrying frames (fig. 13). The warp extends 
from the rigid hoop, which forms the top, to the bottom where the ele- 
ments are made fast. The weft, usually of twine, is attached to one of 
the corner or frame pieces at the bottom and is wrapped once around 
each warp element. This process continues in a coil until the top of the 
basket is reached. In some of its features this method resembles coil 
work, but as a regular warp is employed and no needle is used in the 
coiling, it belongs more to the woven series. This method of weav- 
ing was employed by the mound builders of the Mississippi Valley. 




Fig. 13. 

carrying-basket, wrapped weaving, used by the 

mohave indians of arizona. 

Cat. No. 24145. US.N.M. Collected by Edward Palmer. 



COLLECTORS OF AMERICAN BASKETRY MASON. 



[12] 




Fig. 14. 
wrapped weaving. 

Pressed <>n ancient pottery, from a mound in Ohio. 
3d An. Kept. Bur. of Ethnol.. fig. 70. After W. H. 
Holmes. 



Markings of wrapped weaving on pottery are to be seen in the 
Third Report of the Bureau of Ethnology (fig. .14). This style of 
weaving had not a wide distribution in America, and is used at the 
present day only in a restricted region. When the warp and the weft 
are of the same twine or material and the decussations are drawn tight 
the joint resembles the first half of a square knot. The Mincopies 

of the Andaman Islands construct 
a carrying basket in the same 
technic. 

E . Twined or wattled basketry. — 
This is found in ancient mounds of 
Mississippi Valley, in bagging of 
the Rocky Mountains, down the 
Pacific coast from the island of 
Attu, the most westerly of the 
Aleutian chain, to the borders of 
Chile, and here and there in the 
Atlantic slope of South A merica. 
It is the most elegant and intri- 
cate of all in the woven or plicated species. Twined work has a set 
of warp rods or rigid elements, as in wickerwork; but the weft ele- 
ments are commonly administered in pairs, though in three-ply twining 
and in braid twining three weft elements are employed. In passing from 
warp to warp these elements are twisted in half-turns on each other 
so as to form a two-pl\ r or three-ply twine or braid. According to the 
relation of these w T eft elements to one an- 
other and to the warp, different struc- 
tures result as follows: 

1. Plain tinned weaving, over single warps. 

2. Diagonal twined weaving or twill, over two or 
more warps. 

3. Wrapped twined weaving, or bird-rage twine, in 
which one weft element remains rigid and the other is 
wrapped about the crossings. 

4. Latticed tinned weaving, tee or Hudson stitch, 
twined work around vertical warps crossed by hori- 
zontal weft clinical. 

5. Three-ply twined wearing and braiding in sev- 
eral styles. 




Fig. 15. 
twined weaving in two colors. 

Kept. U. S. N. M., 1881. pi. 20, tig. 39. 



1. Plain twined //w//vW/.— Plain twined weaving is a refined sort of 
wattling or crating. The ancient engineers, who built obstructions in 
streams to aid in catching or impounding fish, drove a row of sticks 
into the bottom of the stream, a few inches apart. Vines and brush 
were woven upon these upright sticks which served for a warp. In 
passing each stake the two vines or pieces of brush made a half -turn 



[13] BULLETIN 39, UNITED STATES NATIONAL MUSEUM. 




Fig. 16. 
twined openwork of the aleuts. 

Kept. U.S.N. M., 1884, pi. 1. flg. 2. 



on each other. This is a very primitive mode of weaving. Plain 1 wined 
basketry is made on exactly the same plan; there is a set of warp ele- 
ments which may be reeds, or splints, or string, arranged radially on 
the bottom and parallel on the body. The weft consists of two strips 
of root or other flexible material, 
and these are twisted as in form- 
ing a two-ply string passing over 
a warp stem at each half turn (fig. 
15). Pleasing- varieties of this 
plain twined weaving will be 
found in the Aleutian Islands. 
The Aleuts frequently use, for 
their warp, stems of wild rye or 
other grasses, in which the straws 
are split and the two halves pass 
upward in zigzag form; each half 
of a warp is caught alternately 
with the other half of the same 
straw and with a half of the 
adjoining straw, making a series 
of triangular instead of rectangular spaces (tig. 16). A still further 
variation is given to plain twined ware by crossing the warps. 

In bamboo basketry of eastern Asia these crossed warps are also 
interlaced or held together by a horizontal strip of bamboo passing 

in and out as in ordinary weaving. 
In such examples the interstices 
are triangular, but in the twined 
example here described (tig. 17) 
the weaving passes across between 
the points where the warps inter- 
sect each other, leaving- hexagonal 
interstices. This peculiar combin- 
ation of plain twined weft and 
crossed warp has not a wide dis- 
tribution in America, but examples 
are to be seen in southeastern 
Alaska and among relics found in 
Peruvian graves. 

2. Diagonal tunned weaving. — In 
diagonal twined weaving the twist- 
ing of the weft filaments is precisely 
the same as in plain twined weaving. The difference of the texture 
on the outside is caused by the manner in which the wefts cross the 
warps. This style abounds among the Ute Indians and the Apache, 
who dip the bottles made in this fashion into pitch and thus make a 




Fig. 17. 

crossed warp twined weaving of the makah 

indians, washington state. 

Rept. U.S.N.M., 1884, pi. 16, fig. 31. 



COLLECTORS OF AMERICAN BASKETRY MASON. 



[u] 



water-tight vessel, the open meshes receiving- the pitch more freely. 
The technic of the diagonal twined weaving consists in passing over 
two or more warp elements at each half turn; there must be an odd 
number of warps, for in the 
next round the same pairs of 
warps are not included in the 
half turns. Tin 4 ridges on the 





Fig. 19. 
variety of twined work, outside. 

Am. Anthropologist, new. ser. 3, 1901, fig. 18. 



Fig. 18. 
diagonal twined weaving of the 

UTE INDIANS, UTAH. 
Kept. U.S.N.M., 1881. pi. 21, fig. 11. 

outside, therefore, are not ver- 
tical as in plain twined weaving, 
but pass diagonally over the 
surface, hence the name (tig. 18). 

This method of manipulation L»nds itself to the most beautiful and 
delicate twined work of the Porno Indians. Gift baskets holding more 

than a bushel and requiring months 
of patient labor to construct are 
thus woven. 

Fig. 19 shows how, by varying 
the color of the weft splints and 
changing from diagonal to plain 
weaving, the artist is enabled to 
control absolutely the figure on 
the surface. 

3. Wrapped twined weaving. — 
In wrapped twined weaving one 
element of the twine passes along 
horizontally across the warp stems, 
usually on the inside of the basket. 
The binding element of splint, or 
strip of bark, or string, is wrapped 
around the crossings of the horizontal element with the vertical warp 
(fig. 20). On the outside of the basket the turns of the wrapping are 
oblique; on the inside they arc vertical. It will be seen on examining 




Fig. 20. 
wrapped twined weaving. 
Rent, U.8.N.M., 1881, pi. 13. fig. 23. 



[15] 



BULLETIN 39, UNITED STATES NATIONAL MUSEUM, 




Fig. 2i. 
wrapped twined weaving. 
Kept. U.S.N.M.. 1884, pi. 11. Hg. 25. 



this figure that one row inclines to the right, the one above it t<» the 
left, and so on alternately. This was occasioned by the weaver's pass- 
ing from side to side of the square carrying basket, and not all the way 
round as usual. The work is similar to that in an old-fashioned bird 
cage where the upright and hori- 
zontal wires are held in place by a 
wrapping of liner soft wire. The 
typical example of this wrapped or 
bird-cage twine is to he seen among 
the Indians of the Wakashan family 
living about Neah Bay, Vancouver 
Island, and southwestern British 
Columbia (fig. 21). 

In this type the warp and the 
horizontal strip behind the warp 
are both in soft cedar bark. The 
wrapping is done with a tough 
straw-colored grass. When the 
weaving is beaten home tight the 
surface is not unlike that of a fine 
tiled roof, the stitches overhang each other with perfect regularity. 
Fig. 22 shows a square inch of the inside of a basket, with plain 
twined weaving in the two rows at the top; plain twined weaving in 
which each turn passes over two warp rods in four rows just below. 

, , In the middle of the figure, at the 

right side, it will be seen how 
the wrapped or bird-cage twined 
work appears on the inside, and 
in the lower right-hand corner is 
the inside view of diagonal twined 
weaving. In the exquisite piece 
from which this drawing was 
made, the skillful woman has 
combined four styles of two-ply 
twined weaving. On the outside 
of the basket these various meth- 
ods stand for delicate patterns in 
color (fig. 19). 

1. Lattice-twined weaving. — 
The lattice-twined weaving, so 
far as the collections of the U. S. 
National Museum show, is con- 
fined to the Porno Indians, of the Kulanapan family, residing on Rus- 
sian River, California. Dr. J. W. Hudson calls this technic tee. This 
is a short and convenient word, and may be used for a specific name. 
The tee twined weaving consists of four elements — (a) the upright warp 




Fig. 22. 
twined weaving, inside. 

Am. Anthropologist, new ser. 3. 1901, fitf. 21. 



COLLECTORS OF AMERICAN BASKETRY MASON. 



[16] 



of rods, (//) a horizontal warp crossing these at right angles, and (c, d) 
a regular plain twined weaving of two elements, holding the warps 
firmly together (tig. 23). 

In all the examples in the U. S. National Museum the horizontal or 

extra warp is on the exterior of 
the basket. On the outside the 
tee basket does not resemble the 
ordinary twined work, but on 
the inside it is indistinguishable. 
Baskets made in this fashion are 
Aery rigid and strong, and fre- 
quently the hoppers of mills for 
grinding acorns, and also water- 
tight jars, are thus constructed. 
The ornamentation is confined to 
narrow bands, the weaver being 
greatly restricted by the technic. 
5. Three-ply twined wt aving. — 
Three-ply twined weaving is the use of three Aveft splints and other 
kinds of weft elements instead of two, and there are four ways of 
administering the weft: 

<i. Three-ply twine. 

h. Three-ph/ }>r<\i<l. 

c. Three-ply, false embroidery, Tlinkit. 

d. Frapped, Skokomish. 

(a) Three-ply twine (figs. 24= and 25). — In this technic the basket- 




Fl<;. 23. 

IKK LATTICE (HI TWIN Kb WEAVING 

Of the Porno Indians, California. 

Am. Anthropologist, new ser. 3. 1901, fig. 22. 





Fig. 24. Fig. 25. 

THREE-PLY BRAID AND TWINED MURK, OUTSIDE. THREE-PLY BRAID AND TWINED AVORK, INSIDE. 

Am. Anthropologist, new ser. 3, 1901. fig. 23. Am. Anthropologist, new ser. 3, 1901, fig. 24. 

weaver holds in her hand three weft elements of any of the kinds men- 
tioned. In twisting these three, each one of the strands, as it passes 
inward, is carried behind the warp stem adjoining; so that in a whole 
revolution the three weft elements have in turn passed behind three 
warp elements. After that the process is repeated. By referring to 
the lower halves of figs. 24 and 25, the outside and the inside of this 
technic will be made plain. 



[17] BULLETIN 39, UNITED STATES NATIONAL MUSEUM. 

On the outside there is the appearance of ;i two-ply string laid along 

the warp stems, while on the inside the texture looks like plain twined 
weaving. The reason for this Is apparent, since in every third of a 
revolution one element passes behind the warp and two remain in 
front. 




Fig. '20. 

THREE-PLY BRAID; a, OUTSIDE; b, INSIDE. 



(b) Three-ply braid. — In three-ply braid the weft elements are held 
in the hand in the same fashion, but instead of being" twined simply 
they are plaited or braided, and as each element passes under one and 
over the other of the remaining- two elements, it is carried inside a 
warp stem. This process is better understood by examining the upper 
parts of tigs. 24 and 25, and 26 a 

and b. On the surface when the 
work is driven home, it is impossi- 
ble to discriminate between three- 
ply twine and three-ply braid. The 
three-ply braid is found at the start- 
ing- of all Porno twined baskets, no 
matter how the rest is built up. 

Fig. 27 shows a square inch from 
the surface of a Hopi twined jar. 
The lower part is in plain twdned 
weaving; the upper part is in three- 
ply twine. Philologists have come 
to the conclusion that the Hopi are 
very mixed people. The three-ply 
work shown in this figure is a Ute 
motive. The U. S. National Mus- 
eum collections represent at least seven different styles of basketry 
technic practiced among the Hopi people of Tusayan. 

(c) Three-ply, false embroidery. — In Tlinkit basketry the body is 
worked in spruce root, which is exceedingly tough. The ornamen- 
tation in which mythological symbols are concealed consists of a species 

17444—02 2 




Fig. 27. 
three-ply and plain twined work. 

Report U.S.N.M., 1881. pi. 38, fig. 67 



COLLECTOBS OF AMERICAN BASKETRY. 



[18] 




Fig. 28. 
overlaid twined weaving. 

6th An. Rept.. Bur. Ethnol., p. 230, fig. 336, after W. H. Holmes. 



of false embroidery in which the figures appear on the outside of the 
basket but not on the inside. In the needlework of the civilized 
woman the laying of this third element would be called embroidery, 
but the Indian woman twines it into the textile while the process of 
basket making is going on; that is, when each of the weft elements passes 

between two warp rods out- 
ward, the colored or overlaid 
element is wrapped around 
it once. Straws of different 
colors are employed (fig. 28). 
(d) Frapped basketry, Sko- 
komish type. — An interest- 
ing modification of this Tlin- 
kit form of overlaying or 
false embroidery occurs 
occasionally among the Porno 
Indians under the name of 
hog or bag, and it is fully ex- 
plained and illustrated by 
James Teit in his Memoir on 
the Thompson River Indians. 1 In this Thompson River example 
the twine or weft element is three-ply. Two of them are spun from 
native hemp or milkweed, and form the regular twined two-ply 
weaving. Around this twine the third element is wrapped or served, 
passing about the other two and between the warp elements, and 
then the whole is pressed down close to 
the former rows of weaving. On the 
outside of this bag the wrapping is diag- 
onal, but on the inside the turns are per- 
pendicular. The fastening off is coarsely 
done, leaving the surface extremely 
rough. I am indebted to Dr. Franz 
Boas for the use of Mr. Teit's figure. 
This combination is extremely interest- 
ing. The author says that it " seems to 
have been acquired recently through in- 
tercourse with the Shahaptins." A little 
attention to the stitches will show that 
the bags and the motives on them are 
clearly Nez Perces or Shahaptian, but 
the wrapping of corn husk outside the twine are not done in Nez 
Percys eashion, but after the style of the Makah Indians of Cape 
Flattery, who are Wakashan (fig. 29). 




Fig. 
frapped twined work. 

Thompson River Indians, British Columbia, 
after James Teit. 



' Memoirs of the American Museum of Natural History, II, New York, 1900, fig. 
132, p. L90. 



[19] BULLETIN 39, UNITED STATES NATIONAL MUSEUM. 
II. COILED BASKETRY. 

Coiled basketry is produced by an over-and-over sewing with some 

kind of flexible material, each stitch interlocking with the one imme- 
diately underneath it. The exception to this is to 
be seen on Eskimo and Digger baskets, in which 
the passing stitch is driven through the wood of the 
stitch underneath and splits it. The transition be- 
tween lace work and coiled basketry is interesting. 
In the netted bags of pita fiber, common throughout 
middle America, in the muskemoots or Indian bags 
of line caribou skin thong from the Mackenzie 
River district, as well as in the lace-like netting of 
the Mohave carrying frames and Peruvian textiles, 
the sewing and interlocking constitute the whole tex- 
ture (fig. 31, A), the woman doing her work over a 
short cylinder or spreader of wood or bone, which 
she moves along as she works. 1 When the plain 
sewing changes to half-hitches — or stitches in which 
the moving part of the filament or twine is wrapped 
or served one or more times about itself — there is 
the rude beginning of point lace work. This is 
seen in Fuegian basketry as well as in many pieces 
from various parts of the Old World (fig. 41). 

The sewing materials vary with the region. In 
the Aleutian Islands it is of delicate straw; in the 
adjacent region it is spruce root; in British Colum- 
bia it is cedar or spruce root; in the more diversi- 
fied styles of the Pacific States every available ma- 
terial has been used — stripped leaf, grass stems, 
rushes, split root, broad fillets, and twine, the effect 
of each being well marked. In all coiled basketry, 
properly so called, there is a foundation more or 
less rigid, inclosed within stitches, the only imple- 
ment used being originally a bone awl. 

Fig. 30 shows the metatarsal of an antelope, sharp- 
ened in the middle and harder portion of the column, 
the joint serving for a grip to the hand. Mr. F. H. 
Gushing was of the opinion that the bone awl was 
far better for fine basket work than any implement 
of steel; the point, being a little rounded, would find 
its way between the stitches of the coil underneath and not force 
itself through them. The iron awl, being hard and sharp, breaks the 

^ee Scientific American, July 28, 1900, and American Anthropologist (new ser. ), 
April, 1900. 




Fig. 30. 

bone awl for coiled 

basketry. 

Report U.S.N.M., 1884, pi. 64, 
tig. 108. Collected by 
Edward Palmer. 



COLLECTORS OF AMERICAN BASKETRY. [20] 

texture and gives a very rough and clums}' appearance to the surface, 
as will be seen in tig. 37. In every culture province of America wher- 
ever graves have been opened the bone stiletto has been recovered, 
showing the widespread use of threads or filaments employed in joining- 
two fabrics, or for perforating those already made to receive coil work 
and other embroideries. 

Coiled basketry in point of size presents the greatest extremes. 
There are specimens delicately made that will pass through a lady's 
finger ring, and others as large as a flour barrel; some specimens have 
stitching material one-half inch wide, as in the Pima granaries, and in 
others the root material is shredded so fine that nearly 100 stitches 
are made within an inch of space. In form, the coiled ware may be 
perfectly flat, as in a table mat, or built up into the most exquisite jar 
shape, in design the upright stitches lend themselves to the greatest 
variety of intricate patterns. 

VARIETIES OF COILED BASKETRY. 

Coiled basketry may be divided into nine varieties, based on struc- 
tural characteristics. The foundation ma} 7 be (1) a single stem or 
rod; (2) a stem with a thin welt laid on top of it; (3) two or more 
stems over one another; (4) two stems laid side by side, with a welt; 
(5) three stems in triangular position; (6) a bundle of splints or 
small stems; (7) a bundle of grass or small shreds. 

The stitches pass around the foundation in progress (1) interlock- 
ing, but not inclosing the foundation underneath; (2) under one rod 
of the coil beneath, however many there may be; (3) under a welt of 
the coil beneath; (4) through splints or other foundation, in some 
cases systematically splitting the sewing material underneath. With 
these explanations it is possible to make the following nine varieties of 
coiled basketiy, matting, or bagging: 

A. Coiled work without foundation. 

B. Simple interlocking coils. 
( '. Si ngle-rod foundation. 

D. Double-stem coil, tiro-rod foundation. 

E. Packing inclosed, rod and well foundation. 

F. Packing inclosed, tiro-rod and splint foundation. 
(J. One rod inclosed, three-rod foundation. 

II. Splint foundation. 
I. Grass-coil foundation. 
K. Fuegian coiled basketry. 

These will now be taken up systematically and illustrated (fig. 31). 

A. Coiled work without foundation. — Specimens of this class have 
been already mentioned. The sewing material is babiche or fine raw- 
hide thong in the cold north, or string of some sort farther south. In 
the Mackenzie Basin will be found the former, and in the tropical and 
subtropical areas the latter. If a plain, spiral spring be coiled or 
hooked into one underneath, the simplest form of the open coiled work 



[21] BULLETIN 39, UNITED STATES NATIONAL MUSEUM. 



will result. An improvement of this is effected when the moving 
thread in passing upward after interlocking is twined one or more 
times about its standing pari (fig. 31 A). 





Q Q 






Fig. 31. 

cross sections of varieties in coiled basketry. 



B. Simple interlocking coils. — Coiled work in which there may he 
any sort of foundation, but the stitches merety interlock without 
catching under the rods or splints or grass beneath. This form easily 
passes into those in which the stitch takes one or more elements of the 
foundation, but in a thorough ethnological 

study small differences can not be over- 
looked (fig. 31 B). Fig. 32 represents this 
style of workmanship on a coiled basket 
in grass stems from Alaska, collected by 
Lucien M. Turner. The straws for sewing 
merely interlock without gathering the 
grass roll. 

C. Single-rod foundation. — In rattan 
basketry and Pacific coast ware, called by 
Dr. J. W. Hudson Tsai in the Porno lan- 
guage, the foundation is a single stem, 
uniform in diameter. The stitch passes 
around the stem in progress and is caught 

under the one of the preceding coil, as in fig. 31 C. In a collection 
of Siamese basketry in the U. S. National Museum the specimens are 
all made after this fashion; the foundation is the stem of the plant in 
its natural state, the sewing is with splints of the same material, 




Fig. 32. 
detail of interlocking stitches. 



COLLECTORS OF AMERICAN BASKETRY. 



[22] 




Fig. 33. 

DETAIL OP SINGLE-ROD COIL IN BASKETRY. 
Kept. U.S.N.M. 1884, pi. 5, fig. 8. 



having the glistening surface outward. As this is somewhat unyield- 
ing, it is difficult to crowd the stitches together, and so the foundation 
is visible between. 

In America single-rod basketry is widely spread. Along the Pacific 
coast it is found in northern Alaska and as far south as the borders of 

Mexico. The Porno Indians use it 
in some of their finest work. The 
roots of plants and soft stems of 
willow, rhus, and the like are used 
for the sewing, and being soaked 
thoroughly can be crowded together 
so as to entirely conceal the founda- 
tion (fig. 33). 

D. Two-rod foundation. — One rod 
in this style lies on top of the other; 
the stitches pass over two rods in 
progress and under the upper one 
of the pair below, so that each stitch 
incloses three stems in a vertical 
series. A little attention to fig. 31 
D will demonstrate that the alter- 
nate rod or the upper rod in each pair will be inclosed in two series 
of stitches, while the other or lower rod will pass along freely in 
the middle of one series of stitches and show on the outer side. 
Examples of this two-rod foundation are to be seen among the Atha- 
pascan tribes of Alaska, among the 
Porno Indians of the Pacific coast, and 
among the Apache of Arizona. An 
interesting or specialized variety of this 
type is seen among the Mescaleros of 
New Mexico, who use the two-rod 
foundation, but instead of passing the 
stitch around the upper rod of the 
coil below, simply interlock the stitches 
so that neither one of the two rods 
is inclosed twice. This Apache ware 
is sewed with yucca fiber and the 
brown stems of other plants, producing 
a brilliant effect, and the result of the 
special technic is a flat surface like 
that of pottery (fig. 34). The U. S. National Museum possesses a 
single piece of precisely the same technic from the kindred of the 
Apache on the Lower Yukon. 

E. Rod and welt foundation —In this kind of basketry the single- 
rod foundation is overlaid by a strip or splint of tough fiber, some- 




FlG. 34. 

FOUNDATION OF TWO ROUS, VERTICAL. 
Rept. U.S.N.M. 1884, pi. 50, fig. 84. 



HI 



LLETIK 39. UNITED STATES NATIONAL Ml SEUM, 



g interlock- 
servea for a 




Fig. 35. 
rod and welt coiled work. 

Kept. U.S.N.M. 1SSI. pi. 49, llg. 82. 

of the best ware is so 



[23] 

times the same as that with which the sewing is done; at othera a strip 

of leaf or bast. The stitches pass over the rod and strip which arc on 
top down under the well only of the coil below, the atitche 

ing. The strip of tough fiber between the two rods which 
welt has a double purpose strength- 
ening the fabric and chinking the 

space between the rods (fig. 31 E and 
fig. 35). This style of coil work is 
seen on old Zuni basket-jars and on 
California examples. The type of 
foundation passes easily into forms 
(tig. 31) C, D, and F. 

F. Two rod Hud splint founda- 
tion. — In this style the foundation is 
made thicker and stronger by laying 
two rods side by side and a splint or 
welt on top to make the joint perfectly 
tight. The surface will be corrugated. 
Tribes practicing this style of coil- 
ing generally have fine material and some 
made up. 

G. Three-rod foundation. — This is the type of foundation called by 
Dr. J. W. Hudson lam-tsu-wu. Among the Porno and other tribes in 
the western part of the United States the most delicate pieces of bas- 
ketry are in this style. Dr. Hudson calls them the ;i jewels of coiled 

basketry." The surfaces are beau- 
tifully corrugated, and patterns of 
the most elaborate character can be 
wrought on them. The technic is 
as follows: Three or four small, uni- 
form willow stems serve for the 
foundation, as shown in tig. 36; also 
in cross section in tig. 31 G. The 
sewing, which may be in splints of 
willow, black or white carex root, or 
cercis stem, passes around the three 
stems constituting the coil, under 
the upper one of the bundle below, 
the stitches interlocking. In some 
examples this upper rod is re- 
placed by a thin strip of material serving for a welt (see tig. 31 F). 
In the California area the materials for basketry are of the finest qual- 
ity. The willow stems and carex root are susceptible of division into 
delicate filaments. Sewing done with these is most compact, and when 
the stitches are pressed closely together the foundation does not 




Fig. 36. 
foundation" of three rods. 



COLLECTORS OF AMERICAN BASKETRY. 



[24] 



appear. On the surface of the bam-tsu-wu basketry the Porno weaver 
adds pretty bits of bird feathers and delicate pieces of shell. The 
basket represents the wealth of the maker, and the gift of one of these 
to a friend is considered to be the highest compliment. 

II. Splint foundation.— hi basketry of this type the foundation 
consists of a number of longer or shorter splints massed together and 
sewed, the stitches passing under one or more of the splints in the 
coil beneath (tig. 37). In the Porno language it is called chilo, but it 
lias no standing in that tribe. In the Great Interior Basin, where the 
pliant material of the California tribes is wanting, only the outer and 
younger portion of the stem will do for sewing. The interior parts 
in such examples are made up into the foundation (fig. 31 H). Such 
ware is rude when the sewing passes carelessly through the stitches 





Fig. 37. 
foundation of splints., 

Rept. U.S.N.M.. 1884, pi. 4, flg. 6. 



Fig. 38. 

INTERLOCKING COILS, STRAW FOUNDATION. 
Rept. U.S.N.M.. 1884, pi. 27, fig. 51. 



below; in others the splitting is designed and beautiful. In the Kliki- 
tat basketry the pieces of spruce or cedar root not used for sewing 
material are also worked into the foundation. 1 

J. Grass-coil hash try.— The foundation is a bunch of grass or rush 
stems, of small midribs from palm leaves, or shredded yucca. The 
effect in all such ware is good, for the reason that the maker has per- 
fect control of her material. Excellent examples of this kind are to 
be seen in the southwestern portions of the United States, among the 
pueblos and missions, and in northern Africa. The sewing maybe 
done with split stems of hard wood, willow, rhus, and the like, or, as 
in the case of the Mission baskets in southern California, of the stems 
of rushes (Juncus acutus), or stiff grass {Epicarrvpes rigidum). (See 
fig. 38 and the cross section given in rig. 31 I). In the larger granary 

1 Memoirs of the; American Museum of Natural History, Anthropology, I, p. 189, 
fig. i:;i a. 



[25] BULLETIN 39, UNITED STATES NATIONAL MUSEUM. 

baskets of the Pima a bundle of straws furnishes the foundation, 
while the sewing is done with broad strips of tough bark, as in fig. 39; 
In the Fuegian coiled basketry, of which a figure Is given, (he 

sewing is done with rushes, hut instead of being in the ordinary 
over-and-over stitch it consists of a series of half hitches or button- 
hole stitches (fig*. 41). 

Among the basketry belonging to tin 1 grass-coil foundation type arc 
the Hopi plaques, built upon a thick bundle of the woody stems of the 
yuccas, which furnish also the sewing material from the split leaf 
(%. 40). If this he examined in comparison with a style of basketry 
found in Egypt and in northern Africa as far as the Barbary states, 
great similarity will be noticed in the size of the coil, the color of the 
sewing material, the patterns, and the stitches. The suggestion is 
here made that this particular form of workmanship may be due to 





Fig. 39. 
open coil inclosing part of foundation. 

Kept. U.3.N.M., 1884, pi. 37. fig. 38. 



Fig. 40. 
interlocking coils, shred foundation. 

Kept. U.S.N.M., 1881, pi. 39, fig. 0'J. 



acculturation, inasmuch as this type of basketry is confined in America 
to the Hopi pueblos, which were brought very early in contact with 
Spaniards and African slaves. 

K. Fuegian coiled basketry. — In this ware the foundation is slight, 
consisting of one or more rushes; the sewing is in buttonhole stitch or 
half-hitches, with rush stems interlocking. The resemblance of this 
to Asiatic types on the Pacific is most striking (rig. 41). 

In a small area on Fraser River, in southwestern Canada, on the 
upper waters of the Columbia, and in many Salishan tribes of north- 
western Washington, basketry called "Klikitat" is made. The foun- 
dation, as said, is in cedar or spruce root, while the sewing is done 
with the outer and tough portion of the root; the stitches pass over 
the upper bundle of splints and are locked with those underneath. 
On the outside of these baskets is a form of technic, which also consti- 
tutes the ornamentation. It is not something added, or overlaid, or 



COLLECTORS OF AMERICAN BASKETRY. 



[26] 



sewed on, but is a part of the texture effected in the progress of the 
manufacture (tig. 42). 

The method of adding this ornamentation in strips of cherry bark, 




Fig. 41. 

FUEGIAN COILED BASKET AND DETAILS. 



cedar bast, and grass stems, dyed with Oregon grape, is unique, and 
on this account I have applied the term imbricated to the "Klikitat" 




Fig. 42. 
imbricated work detail, called klikitat. 

Showing method of concealing coil stitches. 



basket, as shown in fig. 44. The strip of colored bark or grass is 
laid down and caught under a passing stitch; before another stitch 
is taken this one is bent forward to cover the last stitch, doubled on 



[27] BULLETIN 39, UNITED STATES NATIONAL MUSEUM. 



itself so as to be underneath the next stitch, and so with each one 
it is bent backward and forward so that the sewing is entirely con- 
cealed, forming a sort of "knife plaiting." In some of the liner old 
baskets in the National Museum, collected sixty years ago, the entire 
surface is covered with work of this kind, the strips not being over 
an eighth of an inch wide. Mr. James Teit describes and illustrates 
this type of weaving among the Thompson River Indians of British 
Columbia, who are Salishan. The body of the basket is in the root of 
Thuja gigantea, and the ornamen- 
tation in strips of Elymus triti- 
coides and Prwvus <l missa (fig. 48). 





Fig. 43. 
imbricated basketry detail, from the 
thompson river indians, british columbia. 

After James Teit. 



Imbrication is one of the most FlG - 14 

... i ... i . 1 IMBRICATED COILED WORK, CALLED KLIKITAT. 

restricted ot technical processes. 

1 Rep. U. S. National Museum, 1881. pi. <;, fig. in. 

Eells says that some women in 

every tribe on Puget Sound could produce the stitch, and he names 
the Puyallups, Twanas, Snohomish, Clallam, Makah, Skagit, Cowlitz, 
Chehalis, Nisqualli, and Squaxon. It is understood that here it is a 
modern acquirement. It is the native art of the Klikitat, Yakima, 
and Spokanes, all of whom are of the Shahaptian family. The Thomp- 
son River Indians, who are Salishan, have long known the art. 

LIST OF BASKET-MAKING TRIBES. 

The following list includes the names of those tribes known to the 
author as makers of any kind of basketry, especially in North 
America, together with the linguistic families to which they belong, 
and their locations. 

In a much fuller work, to be subsequently published, a larger list 
will be given, and it is desirable that those who are interested in the 
subject will supply to the author the names of those tribes not to be 
found here. 

Tribe. Family. Locality. 

Abnaki Algonquian Point Pleasant, Maine. 

Aleut Eskimauan Aleutian Islands. 

Algonkin Algonquian Northern frontier and Canada. 

Apache tribes Athapascan Arizona and New Mexico. 



COLLECTORS OF AMERICAN BASKETRY. [28] 

Tribe. Family. Locality. 

Arapaho Algonquian South Dakota. 

Arikara Caddoan Fort Berthold, North Dakota. 

Ashochimi Yukian near Healdsburg, California. 

Attacapa Attacapan Southern Louisiana. 

Attn Island, see Aleut. 

Auk Koluschan Gastineaux Channel, Alaska. 

Bilhoola, Bellacoola Salishan Northwest British Columbia. 

Calpella Kulanapan Ukiah, California. 

Carriers, see Thompson River. 

( Jayuse Waiilatpuan Walla Walla and Columbia River. 

Chaves Pass Ruin Hopian Arizona. 

( Jhehalis Salishan Washington State. 

Chemehuevi Shoshonean Arizona and California boundary. 

Cherokee Iroquoian North Carolina. 

Chetimacha .Chetimachan Louisiana. 

Chevlon ruin Hopian Northeastern Arizona. 

Chilcotin Athapascan British Columbia. 

Chilkat Koluschan Southeastern Alaska. 

Chinook tribes Chinookan Lower Columbia River. 

Choctaw Muskhogean Louisiana. 

Chuk Chanci Mariposan Sierra region, California. 

Clallam Salishan Washington State. 

( Jlatsop Chinookan Pacific Coast, Washington. 

Coahuilla Shoshonean Southern California. 

Coconinos, see Havasupai. 

Colville Salishan Colville Agency, Washington. 

Concow Pujunan Round Valley, California. 

Couteau, see Thompson River. 

Cowlitz Salishan North of Mount St. Helen. 

Coyotero Athapascan Southern Arizona. 

Creek Muskhogean Southern States and Indian Territory. 

Diegueno (includes many 

scattered bands) Yuman Southern California. 

Digger Pujunan Northern California. 

Esak-tellar Eskimauan E. Prince William Sound, Alaska. 

Eskimo Eskimauan Arctic America. 

Flonho Athapascan Eel River, California. 

( rallinomero Kulanapan Cloverdale, California. 

< rarotero Athapascan Same as Coyotero. 

Gualala Kulanapan Gualala, Mendocino County, Cali- 
fornia. 

Guthleuk Koluschan N. of Prince William Sound, Alaska. 

Haida Skittagetan Alaska and British Columbia. 

Hal Creek Palaihuihan Northeastern California. 

Havasupai Yuman Cataract Canyon, Arizona. 

Hoh Chimakuan Neah Bay, Washington. 

Homolobi, ancient ruin Near Winslow, in Arizona. 

Iloochnom Yukian Round Valley, California. 

I loonali Koluschan Cross Sound, Alaska. 

Hootzahtai Koluschan Admiralty Island, Alaska. 

Hopi Hopian Northeastern Arizona. 

Hualapai, see Walapai. 

Iluicholes Nahuatlan Zacatecas, etc., Mexico. 



[29] BULLETIN 39, UNITED STATES NATIONAL MUSEUM. 

Tribe. Family. Locality. 

Htipa Athapascan Trinity River, California. 

[roquois tribes Eroquoian Northern frontier and ( lanada. 

Jicarilla Apache Athapascan Northern New Mexico. 

Kabinapo Kulanapan Clear Lake, California. 

Kalispel Salishan Flathead Agency, Montana. 

Karok Quoratean Klamath River, California. 

Kaviagmiut Eskimauan Kadiak Island, Alaska. 

Kawia, set Coahnilla. 

Klamath Lutuamian Northern California. 

Klikitat Shahaptian Yakama Reservation, Washington. 

Kohonino, see Havasupai. 

Kutenai Kitnnahan Idaho and British ( olnmbia. 

Lillooet Salishan British Columbia. 

Little Lakes Kulanapan Round Valley, ( Jalifornia. 

Lolonkuh Athapascan Eel River, California. 

Luiseno Shoshonean San Luis Rev, California. 

Lnnimi Salishan Northern Puget Sound. 

MacCloud Copehan Northern California. 

Maidu Pujunan E. of Sacramento River, California. 

Makah Wakashan Washington State. 

Makhelchel Copehan Clear Lake, California. 

Maricopa Yuman Near Maricopa, Arizona. 

Mattoal Athapascan California. 

Maya Mayan Yucatan. 

Melicite Algonquian New Brunswick. 

Menominee Algonquian Northeastern Wisconsin. 

Mescalero Athapascan Southern New Mexico. 

Mexican, see under vari- 
ous families. 

Micmac Algonquian Nova Scotia. 

Mission, a great many Shoshonean and Yu- Southern California, 
villages man. 

Miwok Moquelumnan California. 

Modoc Lutuamian Klamath River, California. 

Mohave Yuman Between Arizona and California. 

Moki or Hopi Shoshonean Northeastern Arizona. 

Mono Shoshonean Middle California. 

Muckleshoot Salishan Puget Sound, Washington. 

Napa Copehan Sacramento River, California. 

Natano, band of Hupa. 

Navaho Athapascan Northern N. Mexico and Arizona. 

Nez Perce Shahaptian Northern Idaho. 

Nishinam Pujunan Sacramento Valley, California. 

Nisqualli Salishan Puget Sound. 

Nu cha a wai i Mariposan Tule River, California. 

Numlaki Copehan Round Valley, California. 

Nutka Wakashan Vancouver Island. 

Ojibwa or Chippewa Algonquian Michigan. 

Opata ruin Sierra Madre Sonora and Chihuahua. 

Oraibi Shoshonean Hopi pueblo. 

Paiute Shoshonean Western Nevada. 

Panamint Shoshonean Death Valley, California. 

Papago Piman South of Tucson, Arizona, and Sonora, 

etc. 



COLLECTORS OF AMERICAN BASKETRY. ['^] 

Tribe. Family. Locality. 

Patawat Wishoskan California. 

I 'at win Copehan Sacramento River, California. 

1 'awnee Caddoan, see Arikara. 

Penobscot Algonquin Old Town, Maine. 

Peruvian Kechua Highlands of Pern. 

Pima Pinian Southern Arizona. 

Pit River Palaihnihan Pit River, NE. California. 

Porno (many subdivi- Kulanapan Ukiah Valley, California. 

sions). 

Potter Valley Kulanapan Round Valley, California. 

Pueblos Tanoan, Keresan New Mexica and Arizona. 

Zunian, Shoshonean 

Puyallup Salishan Puget Sound. 

Queeto Chimakuan West Washington. 

Quileute Chimakuan West Washington. 

Quinaielt Salishan Western Washington. 

Quinault, same as Qui- 
naielt. 

Salishan tribes, great vari- 
ety of technic. 

San Carlos (Apache) Athapascan Southeastern Arizona. 

San Felipe Mission Yuman Southern California. 

Santa Rosa. 

Santa Ysabel. 

Seminole Muskhogean Florida. 

Shasta Sastean In Shasta and Scott valleys, Cali- 
fornia. 

Shoshoni Shoshonean Great Interior Basin. 

Shush wap Salishan British Columbia. 

Sia Keresan New Mexico. 

Sikyatki, ruin,ancientTu- Northern Arizona. 

sayan. 

Sitka Koluschan Alaska. 

Skagit Salishan Northern Puget Sound. 

Skokomish Salishan Upper Puget Sound. 

Snohomish Salishan Upper Puget Sound. 

Solano, see Napa. 

Spokan Salishan Montana and Washington. 

Squaxon Salishan Puget Sound. 

Suisin, see Napa. 

Tarku Koluschan Tarku Inlet, Alaska. 

Tatu Yukian California. 

Tenaskot Washington, 1 >order of British Colum- 
bia. 

Thompson Salishan British Columbia. 

Tinne Athapascan Alaska. 

Tlinkit Koluschan Southern Alaska. 

Tolowa Athapascan Crescent City, California. 

Tonto Apache Athapascan Southern Arizona. 

Tsinuka Chinookan Columbia River. 

Tulare Moquelumnun Middle California. 

Tule Rivers Mariposan Southern California. 

Tw ana Salishan Puget Sound, Washington. 



[31] BULLETIN 39, UNITED STAPHS NATIONAL .Ml'SKI M. 
Tribe. Family. Locality. 

Umatilla Shahaptian Oregon. 

Utes, many divisions Shoshonean Utah. 

Viard Wishoskan Eel River, California. 

Waiam Shahaptian Dos Chutes River Oregon. 

Wailaki Copehan ..Round Valley, California. 

Walapai for Hualapai Yoman Northwestern Arizona. 

Wappo Ynkian Alexander Valley, California. 

Wasco Chinookan The Dalles, Oregon. 

Washoe Washoan Carson and elsew hen-, Nevada. 

White Mountain Apache. Athapascan Eastern Arizona. 

Wichmnni Mariposan Sierra Region, California. 

Wintun Copehan W. of Sacramento River, California. 

Wushqum Chinookan Columbia River, Oregon. 

Yakima Shahaptian Washington State. 

Yakutat Eoluschan About Yakutat Bay, SE. Alaska. 

Yana or Nozi Yanan Near Redding California. 

Yaqui Piman Sonora, Mexico. 

Yo al man i Mariposan Tule River, California. 

Yo er kal i Mariposan Tule River, California. 

Y^okaia Kulanapan Russian River, Ukiah Valley, Cali- 
fornia. 

Yokut Mariposan Middle California. 

Yolo Northern California. 

Y T uki Y^ukian Round Valley, California. 

Yuma tribes Yuman Southern Arizona and Lower Cali- 
fornia. 

Y T urok Weitspekan Klamath River, California. 

Zuiii Zunian Zufii River, New Mexico. 

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